The intimate nature of “Evulvar” has inspired my current work in progress, as well as an invitation from the Spineless Wonders project to participate in the Aberystwyth University exhibition.

With all the feminist art reading I’ve been doing over the festive break, I’ve discovered Diana al-Hadid, a Syrian-born American contemporary artist. She lives in New York and is represented by the Kasmin Gallery. She uses an array of industrial materials: steel, polymer gypsum, fibreglass, wood, foam, plaster, bronze, aluminium foil, and pigment to create large-scale sculptures and mixed-media drawings and paintings.

Body printing has appeared numerous times in contemporary art:

Yves Klein

David Hammond

Rachel Lachowicz

Antony Gormley

Today, Professor Sharon Morris from the Slade School of Fine Art visited Aberystwyth University to deliver workshops as part of this year's Spineless Wonders project. The workshop is part of an ongoing project researching small press publications, including artists’ books.

Today, I travelled to Woolwich in London to see what the great contemporary printmakers are producing. It’s only on for a few days, which surprises me because of the vast amount of work that goes into putting this event together. Not only do they take over all of the Woolwich Works, but they also have all the prints available online and present several talks daily.

I have been interested in freedom, oppression, unity, and separation for most of my life. These ideas define most of my personal experiences and understanding of the world. Through a dedicated commitment to understanding them, I have seen how our social, psychological, and spiritual experiences are all intrinsically linked.

In search of interpretations of my work, I came across Linda Nochlin's “The Body in Pieces: The Fragment as a Metaphor of Modernity.” For those less in the know, Linda was a “trailblazing feminist art historian.”

With a keen interest in practising my teaching skills, I volunteered at Gwernyfed High School, where I taught the 6th Form art students my two-part workshop in Lithino.

Paul invited me to the print studio to experiment with my Lithino body print plate. With Paul’s extensive knowledge of lithography and my experimental ideas about using the modern printmaking process of Lithino, we set out to combine forces to see what we could achieve.

What’s behind my printmaking process?

For me, creating each printmaking plate is about so much more than just making marks with my body. To create this printmaking plate I prepared the Lino and applied my mark-making medium to my body. Then I sat for a while taking the time to centre myself in meditation, my mark making is about the energy that I place onto the plate as much as the action.